The wistful artistry of Arthur Grumiaux serves chamber music handsomely, although fine versions of the Mozart, Beethoven and Berg concertos attest to a parallel perception in orchestral repertory. Grumiaux's recording career first blossomed in the early to mid-1950s, the period covered by this timely anthology. His discreetly modulating tone, allied to sparing use of portamento (usually cast downwards, like a quiet sob) and invariable tastefulness make far more of Lekeu's 35-minute Sonata than anyone else on disc, save perhaps the young Menuhin (Biddulph). The closing moments of the central Tres lent are quite unforgettable, so personal yet always mindful of the music's contours. Good CDs of the Debussy Violin Sonata are fairly easy to come by yet this one is especially rewarding. Grumiaux went on to re-record the work again (in stereo), also for Philips, but his first shot has a clarity and directness that make the most of Debussy's pioneering invention. As for the Schubert Sonatinas and Duo, no one since has brought more charm or tenderness to them, their amiable melodies tripping off the bow with disarming naturalness switching in a trice from tears to laughter yet never sounding maudlin or over-indulgent.
The third disc consists of arrangements from the baroque, plus two of Paganini encores, I palpiti being the real gem—and possibly the most vivid showcase for Grumiaux's violinistic personality. Other highlights are Corelli's La Follia and Veracini's Op. 1 No. 7, both turned with style, brilliance and considerable sensitivity. The only disappointments—at least for me—were the Kreisler items. Well played as they are (especially Caprice viennois and Tambourin chinois), these miniatures need rather more in the way of personality than the ''chaste naturalness'' (to quote Julian Haylock's excellent note) that Grumiaux brings to them. Still, they amount to a mere fragment of a generous programme. Riccardo Castagnone provides Grumiaux with alert pianistic support and the mono tapes have been cleanly remastered. One hopes that this signals more to come from the same source, including Paganini's Fourth Concerto.'